The Hungarian National Ballet presents a new Laurencia production choreographed by Michael Messerer on 6 March 2020. The production that can be seen seven times this season aims to enchant audiences with spectacular solo dances, duets and ensembles.

Dear Visitors and Customers,
According to the Operational Group commissioned by the Government of Hungary responsible for the containment of the coronavirus epidemic, the height of the spread of the epidemic was expected on 3 May 2020. Therefore, taking the usual one-month rehearsal period into consideration, any theoretical chances of having any performances in the 2019/20 season had ceased. The earliest possibility for the Hungarian State Opera to be open for audiences is in September 2020.

Krisztina Lisztopád

costume designer

Born in Budapest in 1988, Krisztina Lisztopád studied visual design at the Hungarian University of Fine Arts between 2006 and 2011. She worked with prominent members of the young generation of directors (Csilla Bereczki, Panni Néder, Kornél Labora, Artur Szőcs, Zoltán Géczi and others) both as a set and costume designer at the University of Theatre and Film Arts and other venues (Akku, Studio K Theatre). She has developed the visual style of several short film dramas and has worked at the Pest Theatre, the Cellar Theatre, the Katona József Theatre, the TÁP Theatre, the Budapest Puppet Theatre and the MU Theatre, to name some of the Budapest venues, as well as in the cities of Pécs, Komárom, Nyíregyháza, Kecskemét and Budaörs. She has also worked as production assistant and designer for the HBO series Golden Life (2015) as well as on the feature film The Whiskey Robber (2016). She has designed the costumes for several of András Almási-Tóth's musical drama productions, including Broken Dreams (Müpa Budapest, 2012), Hoffmann2012.com (Theater am Pfalzbau, Ludwigshafen, 2012), Angels in America (Opera Wrocławska, 2014) and Lady Sarashina (Ferenc Liszt Academy of Music, 2014). They have also worked together at the Opera House several times, first on The Telephone, then on Der Tenor, at the Erkel Theatre (2015), and then back at the Opera House for The Fairy Queen (2016).